In telling the story of Brontë’s life, Lutz’s method is demarcated by two commitments. First is her interest in Brontë’s world and her place in it. To pursue this, she reconstructs what Brontë ‘wore, saw, heard, smelled, and felt along her skin’ using, among other things, weather reports, the diaries of her neighbours, and local newspapers. This attention to the everyday and the senses offers a thoughtful (and relatively new) approach in Brontë biography, and it is one well suited to Lutz’s established interests, which readers of her 2015 work, The Brontë Cabinet: Three Lives in Nine Objects, will recognise. The second is that This Dark Night joins an established tradition that frames Brontë in relation to the natural world and foregrounds the environment as context for understanding her. For Lutz, as for many before her, Brontë ‘brought the open sky, birdsong, and the peat bogs to life on the page’. The imagery is vivid and compelling, participating in a romantic imaginary that tries to enter the inner mind of a woman who conjured some 200 poems (or thereabouts, that we know of and survive) and, of course, Wuthering Heights. At the same time, Lutz’ environmental emphasis also opens onto Brontë’s preoccupation with darker worlds, such as the dungeons, caves, and graves that dominate her writing, as well as ‘the mortal body’. Neither strand is, in itself, entirely new, but the way Lutz binds them together through sustained sensorial attentiveness feels fresh and it sharpens our historical understanding of Brontë as a multifaceted and complex woman.Importantly, This Dark Night delves into territories that earlier biographers have overlooked, such as, for example, the practical question of how the Brontë sisters managed menstruation, which Lutz answers by drawing on broader health histories rather than evidence specific to the Brontës. This kind of detail may not deepen our understanding of Brontë as a writer, but that is not its purpose. Rather, it is a reminder that the sisters were flesh-and-blood women negotiating a monthly cycle that shapes women’s lives – a seemingly obvious fact that can easily be forgotten amid the iconography and fandom that surround them. It is these reflections that exemplify This Dark Night at its best: Lutz’s care for the material, embodied conditions of Victorian womanhood, which lends biography historic specificity.
Wuthering Heights: 500 people gather at Penistone Country Park in Haworth for celebration. Participants gathered at Penistone Country Park in Haworth for Actually the Most Wuthering Heights Day Ever on Sunday - a celebration of all things Wuthering Heights, Kate Bush and Emily Brontë.The gathering was in the stunning setting of the Haworth moors. 500 people took part in the mass 'Wuther' in a joyful, windswept, red-dress sea of Cathys dancing for charity, supporting Women’s Aid. (DanieL Sheridan)
Eleven classic novels stand in a row on a bookshelf in a library. I find each of them tempting, but in the end, I pick up only one of them.(1) The horror classics Frankenstein and Dracula both stand to the right of the book I chose.(2) Moby Dick and Animal Farm both stand to the left of the book I chose.(3) Two of the books are by Jane Austen. Of these, Pride and Prejudice stands somewhere right of Emma.(4) Pride and Prejudice also stands somewhere right of Frankenstein.(5) There are two titles by two of the Brontë sisters, Wuthering Heights and Jane Eyre, with two other books (not by the sisters) standing between them.(6) Two books stand between Wuthering Heights and Moby Dick(7) Great Expectations (right) and Animal Farm (left) stand on either side of Wuthering Heights.(8) I notice two children’s favourites, with Heidi standing somewhere to the left of Oliver Twist. There are seven books between these two.(9) Six books stand between Dracula and Wuthering Heights.(10) The book I finally choose stands in the middle of the row of 11, i.e. sixth from either left or right. (Kabir Firaque)
Many news outlets cover the Haworth event, or the Folkestone (Kent) one or the Bunbury one or...: London Now, WION, Bunbury Herald, The Independent, Kent Online, Kent Live, La Razón, Corriere della Sera...
Jane Eyre by Charlotte BrontëCharlotte Brontë's Jane Eyre is much more than just a love story. The novel follows Jane, an orphan who endures a lonely childhood before becoming a governess at the isolated Thornfield Hall. There, she meets the estate's enigmatic owner, Edward Rochester, whose cold demeanor and mysterious past immediately set him apart from the typical romantic hero. The narrative shows Jane and Rochester growing closer, but their relationship is constantly tested by secrets, painful sacrifices, and impossible moral choices that force Jane to decide whether love is worth compromising her own principles.The best thing about Jane Eyre is that, unlike many romances of its time, it never allows love to overshadow its heroine's individuality. Jane refuses to sacrifice her self-respect and independence, even if that means walking away from the man she loves. That gives the novel a remarkable sense of maturity that has influenced generations of romance writers, but few have matched Brontë's sensibilities. (Safwan Azeem)
Llevaba demasiados años escuchando que Jane Eyre era una de las mejores novelas jamás escritas. Cuando por fin la terminé entendí que no era una exageración. No solo he leído un clásico; he sentido que acababa de descubrir el origen de muchas de las historias románticas y de misterio que vinieron después. Y lo mejor de todo es que, lejos de sentirse antigua, me ha tenido completamente atrapado durante toda la lectura. (...)Cuando cerré Jane Eyre entendí por qué sigue apareciendo en cualquier lista de las mejores novelas de la historia. No es solo una historia de amor inolvidable; es la historia de una mujer que se niega a renunciar a sí misma, incluso cuando hacerlo parece el camino más fácil. Hay clásicos que se leen por obligación o por cultura general. Jane Eyre, en cambio, se disfruta de principio a fin y demuestra que las grandes historias no entienden de siglos, porque siguen emocionando exactamente igual hoy que cuando Charlotte Brontë las escribió. (Translation)
3. HathersageHathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. The Grave of Little John, Robin Hood’s second-in-command, can be found at St. Michael’s Church in the heart of Hathersage. While there is little evidence proving he is buried here, ballads suggest that he originated from Hathersage and settled there again later in his life. (Tom Hardwick)
The House Where the Brontës Still Sing
Chronicle of Guiem Soldevila's Brontë concert
Fosquets Lithica Festival, 2 July 2026 (Ciutadella de Menorca, Spain)Guiem Soldevila's sold outinaugural concert, dedicated to the Brontë sisters, captured the spirit of the festival like few others could. The Fosquets Lithica festival is fast becoming an international reference point among world-music festivals in Menorca, and there could be no better fit than a concert by a composer born in Menorca who reaches for the world to prove it.Edition after edition, a carefully curated programme has revealed its identity in an offering that is culture in the fullest sense — not only theatrical, but communal. It is not just the space itself, but how the people who work there inhabit it. From the stonecutters of the past to today's programmers, an unbroken lineage of effort, love and craft.Guiem Soldevila and his group of nine artists joined the expanding ripple of creative energy that was born in the Brontë sisters' house in England in 1845, and which reached us last night in the form of an emotional, vibrant, serene concert.Throughout the concert, writer Carme Cloquells acted as our guide, reading from her logbook of the sea of emotions, painting a literary portrait of each of the sisters. Through thirteen musical settings of poems by the three sisters, we experienced a complete emotional journey. The composition was, without doubt, rich in symbolism. The a cappella trio of voices that opened the concert represented the voices of the three sisters.With Emily Brontë, the music was predominantly built on irregular time signatures, gentle melodies and deep expression. The orchestration, superbly judged, culminated in a small cello-and-flute duet performed by Clara Gorrias and Pau Cardona, evoking the sound of an English Renaissance romance.Anne Brontë, with her soft, clear and committed voice, was represented by a duduk played by Pep Eroles, accompanied throughout by Andreu Marquès's evocative percussion. Perhaps one of the most magical moments of the concert, paired with dance. And yes, magic does exist, and its name is Gêliah. Few people can command the magnetism of attention simply by walking on stage. The cadence of her walk, the lightness of her arms, the intensity of her gaze… Then she dances, yes, or even makes a handkerchief dance, but what she really does is enchant us with her simplicity.When it came to representing Charlotte Brontë, the eldest sister, the music grew more angular, with insistent rhythms, while still finding, amid so much strength, moments of serenity. I found the setting of the poem “On the Death of Anne Brontë” especially inspired, with a deep lament performed by Lluís Gener — perhaps a nod to the laments of Purcell and Dowland — over which the elegiac voices of Guiem, Neus and Clara rested.This was a concert to be praised not only for the quality of its compositions, but also for the quality of its performers. At the imaginary dinner table ofthe Brontë house sit Clara Gorrias, Neus Ferri, Pau Cardona, Elena Armenteros, Lluís Gener, Andreu Marquès, Pep Eroles, Gêliah and Carme Cloquells. The Brontës are no longer just Guiem's project; for an hour, they also become the home of these nine artists.In a conversation between friends, while the Brontë project was still taking shape, Clara Gorrias confided in me: “I never thought I would immerse myself so deeply in this world, partly drawn in by Guiem's enthusiasm. I had also never seen myself working under the leadership of a man who does it with such care, listening, respect and openness.”Perhaps it is no coincidence that a concert dedicated to three women who wrote from freedom was born from a way of creating rooted in listening. The way we work, too, ends up making its own sound.Pau Marquès i Oleo
The sun may be hiding behind grey clouds, but for hundreds of people in flowing red dresses dancing on Yorkshire moorland it'll take more than a threat of rain to dampen their spirits.This is Brontë country, after all, so it's fitting that it's also perfect Brontë weather.The group, swaying in unison, have come together to re-create the music video for Kate Bush's 1978 song Wuthering Heights, inspired by Emily Brontë's novel.Every year, thousands of people around the world don red robes – and in some cases long black wigs – for The Most Wuthering Heights Day Ever.Events have previously taken place in places such as Sydney, Copenhagen, Berlin, Folkestone and Preston.This particular "Mass Wuther" perhaps has an even stronger claim than most – it's held on Penistone Hill, not far from the famous Brontë parsonage in Haworth, in the Pennines.From the field on a clear day can be seen the ruined farmhouse of Top Withens, believed to be the inspiration for the titular farmhouse of Brontë's novel. (Fiona Callow)
It’s a bitterly cold Dunedin morning when a bright red wave of Kate Bush lookalikes gathers in the Octagon to dance. By noon, the temperature is a brutal four degrees (feels like -0, according to the weather app), and as the winter sun peeks through the grey clouds above Dunedin’s city centre, the group of dancers dressed in red waits quietly. When the opening piano notes of Kate Bush’s song ‘Wuthering Heights’ burst out, they begin to move in unison, lifting their arms and waving them above their heads. As their crimson clothes blow in the icy wind, Bush sings the famous line that today takes on a new meaning: “Heathcliff it’s me, I’m Cathy, I’ve come home… I’m so cold.” (Tara Ward)
Or BBC in Bristol, Euronews, The Jonesboro Sun, The Adelaide Advertiser, Hello Rayo, in Folkestone...
For her debut album called The Kick Inside, Bush’s first official single was “Wuthering Heights.” Inspired by the classic novel of the same name by Emily Brontë, Bush wrote the track in the span of one night the year before, when she was just 18 years old.Still a teenager by the time the song officially came out, Bush’s music was an impressive success and a huge start to her career. In particular, “Wuthering Heights” gained a lot of fans.The song is a story told from the perspective of the character Catherine Earnshaw after her death, when she’s a ghost pleading with her former love, Heathcliff. Just like how she wrote the song in a few hours, Bush also recorded her vocals for the tune in one take.The mixing for “Wuthering Heights” took place over the course of one night as well, starting at midnight and going until around six in the morning. Music engineer Jon Kelly recalled working with Bush on the song. (Devon Forward)
6. Haworth, West YorkshireA steam train service arrives at Haworth in West Yorkshire, one of the most beautiful places in EnglandYou may not think that you know this Yorkshire town, but you’ve probably seen its steep street, which climbs up the valley of the River Worth, on screen. Haworth is popular with location scouts for film and TV, and many of its lugubrious millstone grit houses have become whimsical shops selling everything from hemlock candles and vintage dresses to “fat tyke” biscuits. The town has one foot in another era, especially when the steam locomotives from the Keighley & Worth Valley Railway chunter into its station. The Brontë sisters grew up in the parsonage at the top of the street — it is now a museum that details how claustrophobic and intense their upbringing must have been. Further uphill from the parsonage, the moors beckon anyone who wants to wuther a few heights. We’d recommend staying close to the Brontë parsonage in the thoughtfully renovated boutique guesthouse Weavers of Haworth. (Andrew Eanes)
Cumbres Borrascosas pertenece a ese linaje, y así se lee mayoritariamente: como una historia de amor imposible entre Catherine Earnshaw y Heathcliff, una pasión tan poderosa que ni la muerte logra extinguirla.Es una lectura legítima pero incompleta porque Emily Brontë no escribió solo una historia de amor. Escribió al mismo tiempo una novela de terror.El terror que Brontë explora es más moderno y perturbador que el terror gótico popular en aquella época: el miedo que puede causar la convivencia doméstica con alguien que nos odia. La diferencia esencial entre Cumbres Borrascosas y sus predecesores en el género del amor obsesivo es que aquí la pasión no se consuma ni se frustra en un instante glorioso: se pudre durante décadas, se transforma en rencor sistemático y aplasta a quienes tienen la desgracia de estar cerca. No hay ningún Romeo que muera joven y hermoso. Hay un Heathcliff que vive demasiado tiempo.La pasión de Heathcliff por Catherine es real e irreductible, y la novela la trata con toda su complejidad, tal y como veremos en el apartado siguiente. Frente a esto, lo que define a Heathcliff como personaje no es lo que siente por Catherine, sino lo que hace con ese sentimiento cuando la sociedad —y la propia Catherine— lo rechaza por su origen. Lo que comienza como un malentendido marcado por la confusión entre lo que Catherine siente y lo que cree que debe ser desencadena en Heathcliff un odio que se vuelve sistemáticamente contra quienes no tienen ninguna culpa: Isabella Linton, su esposa, a la que somete con crueldad calculada; y la segunda generación, a la que manipula y arruina sin remedio. (Read more) (Translation) (Eduardo Antuña Zarzuelo)
Wuthering Heights of Opulence. I visited the English region made famous by Wuthering Heights with old-fashioned villages and celeb-visited hotels. (...)Despite the changeable weather – one minute I’d be battered by gusts that pierced like kitchen knives, the next smothered in mist then bathed in sunshine – I instantly fell head over heels in love with the moors.Emily Brontë and her sisters Charlotte and Anne grew to adore these wilds, right on their doorstep.I hiked to ruined farmstead called Top Withens, said to have inspired Wuthering Heights the fictional home of Cathy.A further trek then took me to the Brontë Waterfall, Brontë Bridge, and Brontë Chair rock (in the shape of a seat), which were all places close to the sisters’ hearts.Back in Haworth, the limestone cottages and cobbled main street lined with gift shops, cafes and pubs had an old-fashioned charm.At the sisters’ old home, now the Brontë Parsonage Museum, I saw the simple wooden table where they used to write. (Fiona Whitty)
Nu Sass, a company that promotes marginalized genders in all aspects of theater, presents Courtney Bailey’s “Brontë Sister House Party” (Aug. 14-Sept. 12) at Van Ness on Main Street (4340 Connecticut Ave., NW). In life, the Brontë Sisters, Emily, Charlotte, and Anne, wrote their 19th century English lit classics in the virtual isolation of their father’s remote York parsonage. Now, stuck in purgatory, they’re suffering through party after party in an endless time loop. For them, hosting is truly hell, until they finally find a way to make it tolerable. (Patrick Folliard)
In conclusione, la citazione ci consegna una straordinaria meditazione sull’interiorità umana. Ci ricorda che siamo anche, e forse soprattutto, ciò che abbiamo sognato. Che non tutto ciò che conta deve essere realizzato per essere vero. Che alcune delle nostre trasformazioni più autentiche derivano non da eventi visibili, ma da visioni invisibili, che attraversano il tempo e noi stessi. Ed è forse proprio in questa alterazione silenziosa che si nasconde la vera poesia dell’essere. (Patrizio Lo Votrico) (Translation)
Times Now News compiles some beautiful and/or brutal love confessions in literature (with a lot of sloppy AI illustrations), quoting Wuthering Heights. AnneBrontë.org posts about when Charlotte Brontë quietly used her connections with publisher George Smith to help friend Harriet Martineau attempt a secret, anonymous return to novel-writing in 1851 — a book that was ultimately never published.
by Paloma Ríos PrietoAdvisor: Ana Isabel Zamorano RuedaUNED, 2026La tesis doctoral que se presenta en este documento pretende ofrecer una panorámica completa de la producción literaria de la escritora del siglo XIX Anne Brontë para demostrar que el tipo de voz, discurso y los enunciados que la autora va empleando progresivamente a lo largo de la vida. Su trayectoria literaria comenzó como escritora de composiciones poéticas contextualizadas en un universo de ficción denominado Gondal y continuó con una poesía confesional que le sirvió como instrumento para expresar todo tipo de sentimientos, ilustrando una proyección autobiográfica de la interioridad, de su yo más íntimo y personal. Mientras que la voz y el discurso inicial de la escritora se focaliza en una atracción por el mundo de la fantasía, la aventura, la sensibilidad por el paisaje y la naturaleza que la rodeaba, su crecimiento personal se corresponde con la evolución o maduración en su discurso, presentando en la poesía que no pertenece a su universo de ficción un discurso aún más intimista, introspectivo y de autoexploración confesional en el que destaca el análisis de la fe o el sentido general de la vida. La escritura de Anne Brontë también comprende un ensayo dialogado entre dos personajes no identificados conocido como Brotherton Manuscript en el que la autora presenta el debate entre la razón y la fe en relación con el origen de la Tierra. Por otro lado, en las dos novelas, Agnes Grey y The Tenant of Wildfell Hall, publicadas con menos de un año de diferencia, predomina el discurso moral y social, pero fundamentalmente didáctico para reformar situaciones de desventaja social y legal para las mujeres y los niños del siglo XIX. Si la voz de la escritora Anne Brontë comenzó con una predilección por la fantasía, terminará sus últimas líneas con un discurso de realismo social con dimensión feminista que la convierte en una figura pionera en el pensamiento de reforma social que resuena incluso hoy en día. La problemática en torno a la figura y obra de Anne Brontë reside en la escasez de documentos de primera mano que se conservan de ella, en la abundancia de leyendas que la han situado en una posición periférica en relación con sus hermanas, además del proceso de censura e incluso silenciamiento que su obra ha tenido hasta el último tercio del siglo XX. Esta investigación aspira a recuperar la voz de Anne Brontë tanto en su producción poética como en la narrativa, revisando de igual manera, la evolución que ha habido en la crítica literaria con el objetivo final de contribuir en el proceso de reconocimiento literario que su obra merece. La difusión y visibilidad independiente de Anne Brontë como pensadora adelantada a su tiempo se hace necesaria para reconocer y valorar su contribución en la mejora de las condiciones sociales, económicas y legales para las personas pero de manera más específica para los niños y las mujeres. Este estudio espera ser una contribución relevante en el conocimiento científico en el campo de los estudios de género en España, al no existir ninguna tesis doctoral centrada de manera exclusiva en la obra y figura de la escritora Anne Brontë.
Move over, Cathy and Heathcliff, we've got a new band of controversial characters to dissect and discuss as we move into the second half of 2026.Should audiences be careful what they wish for? From the moment of its release on Valentine's Day this year, Emerald Fennell’s Wuthering Heights sold a lot of tickets on the promise of A-lister debauchery, but many fans left the cinema a little disappointed with the level of spice. Perhaps it was fate, perhaps it was creative programming, but a far more provocative movie was premiering at the Berlin Film Festival that very same night: Rosebush Pruning. (Rory O'Connor)
Dozens of Kate Bush fans are celebrating her most famous song, Wuthering Heights, with a recreation of the dance from the music video.Dubbed "the most Wuthering Heights day ever", the event at Clevedon's Marine Lake and Bristol's College Green raises money for the charity SARSAS (Somerset and Avon Rape and Sexual Abuse Support).The event will take place today, ahead of the singer's birthday on 30 July."It's enormous fun learning the dance, it's a real challenge as it's not straightforward, and it's not just for the ladies, we welcome everybody," said organiser Bridget Pairaudeau from Bristol.The Clevedon event is believed to be the only one where dancers celebrate on land and in the water at the same time.Last year, the event raised just over £1,000 for SARSAS."They were delighted that we danced for them," said Pairaudeau. (Jonathan Holmes)
Dr. Suvam Nath SharmaDrishti : the Sight # Vol.- XV, Issue - I (May, 2026-October, 2026), pp 122-126The Brontë novels possess canonical status because they refuse exhausted historical meaning and maintain resistance to singular interpretation across generations. Reading the Brontë canon through the lens of weird fiction and contemporary theory reveals how these works systematically dismantle Victorian moral certainties and domesticity’s illusory stability. Charlotte, Emily, and Anne Brontë wrote texts that expose moral nihilism as an affective condition wherein established ethical frameworks prove radically inadequate to comprehend human experience and desire. Rather than offering reassurance, these novels stage the eruption of the numinous within domestic interiors supposedly secured by convention. Heathcliff’s demonic force, Bertha Mason’s mônstrum-like presence, and Helen’s recognition of her husband’s fundamental vacancy all constitute manifestations of this numinous threat that dissolves selfhood’s boundaries. Reconsidering the Brontë canon through weird fiction’s diagnostic apparatus illuminates how Victorian comfort depends upon elaborate denial and repression of forces that exceed rational explanation and moral categorization. The permanence of moral chaos and numinous danger in these works constitutes their enduring philosophical wisdom for contemporary readers who inhabit moments of ideological hardening and moral certainty.
Women, Autonomy, and Resistance in Victorian Fiction: A Study of Jane Eyre
Pallavi Bhardwaj. Ritu Sharma and Simran KambojJournal of Technical Education, Vol. 49 Special Issue No. 1 April 2026, p. 116Victorian literature frequently reflects the rigid gender hierarchies embedded within nineteenth-century British0 society. This paper explores the theme of women’s autonomy and resistance in Jane Eyre by Charlotte Brontë within the socio-cultural framework of Victorian England. The novel critiques patriarchal authority and redefineswomanhood through a protagonist who asserts moral, emotional, and economic independence. Through an examination of Jane’s psychological development and key narrative moments, the study argues that Jane Eyre anticipates feminist thought and serves as a foundational text in Victorian feminist discourse.
Wuthering Heights And Bella Hadid Both Played A Part In This Couple’s Dorset Wedding. (...)The couple were married at St Peter’s Church in Knowle at 1.30pm on 20 June. “The weather wasn’t quite what we’d imagined,” she remembers. “We’re such summer people, which is why we chose the summer solstice. Instead, we woke up to the most incredible mist, which did give the start of the day a romantic, atmospheric feel. It was very Wuthering Heights." (Rebecca Cope)
Witch Light by Zohra NabiAs the Emily Brontë quote at the beginning makes clear, we're in the wild, wuthering world of the gothic imagination. (Lucy Bennerman)
“In winter nothing more dreary, in summer nothing more divine, than those glens shut in by hills, and those bluff, bold swells of heath.” (Wuthering Heights, Chapter 32)
My favourite adult classics also feature picturesque countryside and sprawling mansions but are a tad bleaker: Rebecca by Daphne du Maurier and Jane Eyre by Charlotte Brontë. Both gothic thrillers about a marriage doomed by a dark past.
Though the black-and-white romantic drama depicts only half of Brontë's Gothic classic and eliminates all of the second-generation characters (sorry kids!), it's widely acclaimed for its lush, deliciously melodramatic treatment of the source material. (Christina Izzo)
HaworthBest known as the home of the Brontë sisters, Haworth combines literary heritage with breathtaking moorland scenery. Its cobbled main street is lined with independent shops, tearooms and galleries, while nearby Penistone Hill Country Park and the Keighley & Worth Valley Railway offer plenty to explore beyond the village. (Daniel Smith)
Today's special report shows how films such as Emerald Fennell's adaptation of Emily Brontë's Wuthering Heights have fuelled interest in visits to Yorkshire, whose beautiful moorlands were so central to its cinematography.
"He is more myself than I am. Whatever our souls are made of, his and mine are the same." Emily Brontë, Wuthering Heights. (Selection by Logan DeLoye)
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Sunday, July 26, 202611:00 AM – 1:30 PM (Check-in at 10:30 AM)The Old Cricket Pavilion (Penistone Hill Country Park) (Main dance performance & practice)Parson's Field (Next to Brontë Parsonage Museum) (After-party and post-dance picnic)Join us for day like no other... a celebration of all things Wuthering Heights, Kate Bush and Emily Brontë in the stunning setting of the Haworth moorsLearn the steps and wavy arm movements, with help from our dance leaders, and join in the mass dance withhundreds of other "Kate's" from around the country and the world!Become a Kate for the day - long red dress, flowing wind-tossed hair, singing out passionately to the elementsEnjoy musical and poetic tributes to the song, its singer, its setting and the book which inspired itHear a poem composed by Kate Bush herself for Emily Brontë's birthdayHelp us raise funds to protect this iconic landscape to inspire generations of Kate's and Emily's to come.
In a rapidly changing intellectual environment, two developments have affected the work of the historical biographer over the past two decades. First, digitisation has made it possible to read vast swaths of printed matter online, including obscure sermons and newspaper articles, and even some manuscripts, without leaving the study. Second, with privacy under erasure, biographers are empowered to go where their predecessors feared to tread with regard to the body and its functions. Both developments are evident in the making of This Dark Night, a book that demonstrates what can be achieved when a scholar-critic of Lutz’s stature applies her empathic imagination to the hidden life and writing practices of her elusive subject.Lutz has a particular interest in the materials that writers used in the Victorian age, the subject of a previous study. In the preface to her new book, she writes; “Keeping slips of paper and a pencil nub nearby, Brontë mastered a peripatetic kind of creativity, interwoven with household work, daydreaming, and exploring her native landscape.” Out on the moors by day and under the stars by night, she scribbled poems on scraps of paper and later transcribed them in drafts written in ink. Lutz argues that “the page worked for her as a sort of frame or foundation on which to build the poem. Similar to those samplers she made as a girl, the letters, words, and lines accumulated like cross-stich across and down the sheet.” Signs of digging her quill pen into the paper while writing remain legible, we are told.As Emily and her sisters prepared their poetry and fiction for publication, they acquired notebooks with thin leather covers the colour of oxblood. When opened, they would easily lie flat. Lutz’s close readings of the texts convince us of the power of a poetic vision inspired by nature and the elements. Her treatment of Emily’s writing materials reminds us that creation is work. (Dr Michael Wheeler)
Forget hot girl summer — for readers, it's decidedly a classics girl summer. According to data from Google Trends, interest in books you might not have read or even thought about since high school English class is way up. This includes some of the standard books you'd find on Rory Gilmore's reading list, like "Jane Eyre" by Charlotte Brontë and "The Catcher in the Rye" by J.D. Salinger, but some titles surging in popularity are unusual picks for the book girlies. (Amanda Manen)
Andrés Muedano: What are you working on next?Tara Menon: I am working on both a second academic book and a second novel. My academic book is an exploration of anger and the novel. I have noticed that readers often label books “angry”—they might say, for instance, “Jane Eyre is a furious book” or “Naipaul’s novels seethe with rage,” but it’s never been clear exactly how they make those determinations. In my book, I ask: what does it mean for anger to be embedded in a novel, rather than simply expressed by one of its characters? What are the formal characteristics of anger in fiction?
But Morton doesn’t believe in bogging herself down in research, not since starring in a British TV production of “Jane Eyre” when she was 19 and carried around a heavily highlighted copy of the Charlotte Brontë book, despairing whenever the adaptation deviated from the novel. From that point on, she stuck to the script and her own imagination. (...)Morton first came to New York as a teen to do press for “Emma,” returned a year later to promote “Jane Eyre” and then couldn’t bring herself to leave, “sofa-surfing” at friends’ apartments so she could immerse herself in the city.“New York stole my heart,” Morton says. It’s where she first got into literature, devouring Charles Bukowski, roaming the aisles at the St. Mark’s Bookshop, checking out movies from Kim’s Video and gobbling hash browns and eggs over easy at the Waverly Diner. (Glenn Whipp)
Sometimes the right project is simply too good to turn down. Wuthering Heights was a fantastic job – I loved every minute of it, and Margot and Jacob and everyone on that production were lovely. I’m lucky that I still get offered work that interests me. The moment it stops being enjoyable, I’ll stop doing it. (Claire Bowman)
" spawned a worldwide annual tradition of red-dress flash mobs, with two taking place in France this year: at the Bon-Repos abbey on July 25 and in the Bois de Vincennes in Paris on July 26, 2026.Sa reconnaissance viendra bien plus tard. Au cours du XXe siècle, Les Hauts de Hurlevent s'impose progressivement comme un classique de la littérature mondiale grâce à ses nombreuses adaptations au cinéma, à la télévision et au théâtre. Kate Bush participera, elle aussi, à cette redécouverte. Car, contrairement au roman dont elle est inspirée, sa chanson connaît un triomphe immédiat. Sortie en pleine période où s'affrontent le punk et le disco, à rebours des tendances dominantes, elle s'impose en tête des classements britanniques et détrône même le groupe ABBA. Du jamais vu pour un premier titre et une artiste inconnue.Lorsque Kate Bush découvre ce récit gothique, ce n'est pas en ouvrant le roman d'Emily Brontë, mais en regardant une adaptation télévisée diffusée par la BBC. Elle n'a alors que 16 ans. Fascinée par l'atmosphère sombre du récit et la puissance tragique de ses personnages, elle finit par lire le livre et se sent particulièrement proche de son héroïne, Catherine, surnommée Cathy, dont elle partage le prénom. Elle décide alors de transposer l'histoire dans le langage de la pop.À l'âge de 18 ans, elle compose Wuthering Heights en une seule soirée, au piano. Sa chanson s'inspire d'une scène emblématique du roman : celle où le fantôme de Cathy apparaît à la fenêtre de Heathcliff et tente de le convaincre de la laisser entrer. Kate Bush prête alors sa voix à l'héroïne disparue : « Heathcliff, it's me, I'm Cathy, I've come home, I'm so cold, let me in-a-your window... » ("Heathcliff, c'est moi, Cathy. Je suis revenue. J'ai si froid. Laisse-moi entrer par ta fenêtre..."). En quatre minutes de musique, la chanteuse parvient ainsi à condenser toute la passion, la mélancolie et le mystère qui font encore aujourd'hui la force du roman d'Emily Brontë. (...)Si Wuthering Heights est devenue une chanson culte, c'est autant grâce à la voix singulière de Kate Bush qu'à l'univers visuel qu'elle a construit autour du morceau. Son timbre aigu, presque irréel, se mêle à des sonorités éthérées pour donner vie à un personnage fantomatique directement inspiré de Cathy Earnshaw. Mais c'est surtout le clip qui va marquer durablement les esprits.Conçue avec le chorégraphe Lindsay Kemp, célèbre pour avoir notamment formé David Bowie à l'art du mime, la chorégraphie contribue à l'atmosphère hypnotique du morceau. Dans une première version du clip, Kate Bush apparaît sous les traits du fantôme de Cathy, vêtue d'une longue robe blanche vaporeuse. Filmée au ralenti, évoluant parmi des effets visuels qui accentuent l'étrangeté de la scène, elle semble flotter entre le monde des vivants et celui des morts.Une seconde vidéo est ensuite réalisée pour le marché américain. Le décor change, mais pas la chorégraphie. Cette fois, la chanteuse danse au milieu de la campagne anglaise dans une robe rouge flamboyante qui deviendra sa tenue emblématique. Plus épurée et plus facilement identifiable, cette version va peu à peu s'imposer dans l'imaginaire collectif et devenir l'une des images les plus célèbres de la culture pop britannique.C'est d'ailleurs ce clip qui est à l'origine de The Most Wuthering Heights Day Ever. Chaque année, à l'occasion de l'anniversaire de Kate Bush - et d’Emily Brontë, née un 30 juillet, elle-aussi - des milliers de fans à travers le monde enfilent la fameuse robe rouge et reproduisent les gestes envoûtants de la chanteuse. De Londres à Melbourne, en passant par Paris, cette chorégraphie née à la fin des années 1970 continue ainsi de rassembler. L'archive ci-dessous nous entraîne dans l'événement organisé en Bretagne en 2024. (Florence Dartois) (Translation)
Final Jeopardy today was in the category “AUTHORS“The clue: “She sometimes signed letters “Charles Thunder”The answer: “Who is Charlotte Brontë?” (Lizzy Buczak in Parade)
The album was recorded across Iceland, New York, and Berlin, and draws inspiration from poetry, literature and visual art. de Oliveira weaves in mythology with references to Milton's Paradise Lost and the poetry of John Keats, Emily Brontë and Anne Sexton. (Kayla Sandiford)
En esto se gastan los jóvenes lucenses su Bono Cultural: «El "GTA VI" y "Cumbres Borrascosas" son los grandes éxitos de este 2026» (...) Cuentan que esta ayuda cultural es más usada por las chicas que por los chicos, aunque esto no significa que estos últimos no acudan a comprar obras literarias al establecimiento. «Ellas vienen, principalmente, en busca de novelas románticas. Cumbres borrascosas vendió muchos ejemplares por el estreno de la adaptación en cines». (Andrés Quintán) (Translation)
An AI includes Jane Eyre in a list of great stories never getting old on Bookclub. The Brussels Brontë Blog recounts a guided day trip through lesser-known Brontë sites in Lancashire and West Yorkshire — Cowan Bridge, Leck, Tunstall Church, Kirkby Lonsdale, and Wycoller — checking off several long-sought locations tied to the sisters' lives and Charlotte's Jane Eyre.
Sat 25 Jul, 10:00amMeet at the Brontë Parsonage Museum ShopEmily and Lucy, founders of Soft Girls Who Hike, coined the term “soft hiking” - a more accessible, gentle approach to the outdoors that prioritises enjoyment over endurance.They have since built the Soft Hiking Club, an online community connecting soft hikers around the world. The movement has clearly resonated, generating over 11 billion views on TikTok and growing a combined audience of 100,000+ followers across TikTok, Instagram, and Facebook. Their work has been featured in Insider, Forbes, Time Out, and CNBC, among others.This walk will take you from the Brontë Parsonage Museum, up across Penistone Hill, to the Brontë Bridge situated at the ‘meeting of the waters’. The walk will include various stops along the way where museum volunteer, Paul will be shedding light on the Brontë story and its connection with the landscape.Ticketholders for this event are entitled to discounted entry to the Museum at £9 (General concession ticket), as well as a choice of a ‘Team’ badge (Team Anne, Team Emily, Branwell and Charlotte badges).
Sat 25 Jul, 1:00pmOakwell Hall & Country Park, Birstall, WF17 9LFDiscover the National Gallery through Brontë eyes.Oakwell Hall and Country Park is one of the hosts of the National Gallery's nationwide exhibition, ‘The National Gallery: Art On Your Doorstep.’ Fourteen life-size reproductions of National Gallery paintings are to be displayed throughout the Country Park.Join us at Oakwell Hall for a fascinating curator-led tour exploring when the Brontë sisters visited the National Gallery—twice!—and what the Gallery looked like during their time. Learn about their visits, the artworks they encountered, and how these experiences may have influenced their writing. Each selected painting on the tour is paired with a hand‑picked literary quote from one of the novels, offering a rich and atmospheric connection between the art and the world of the Brontës.Perfect for adults with an interest in literature, history, or art, this unique experience brings together storytelling, heritage, and visual culture.
Man fined £1,000 after fly-tipping at Penistone HillA Rogue waste carrier has been fined for dumping rubbish.He was working without a licence and left a large pile of waste at Penistone Hill Country Park.Bradford Council’s Environmental Enforcement Team was alerted to the fly tip in early May 2025 in the park's car park, a popular spot in Haworth known for its Brontë heritage and scenic views.The dumped rubbish included household and commercial waste such as furniture, timber, doors, cardboard, black bags, and general refuse. (Harry Williams)
Literary connectionsHathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall also became the main inspiration for Thornfield Hall. (Tom Hardwick)
There Are No Sex Scenes In Emily Brontë’s ‘Wuthering Heights,’ But Plenty In The 2026 Movie Adaptation.Emily Brontë’s book is not steamy. It’s tragic, gothic, almost asexual - in fact, the star-crossed lovers Cathy and Heathcliff are soulmates, no sex needed. When society doesn’t allow them to marry because he’s poor, things become tragic and toxic, and with time love becomes obsession, and its beauty becomes withering.The movie has some of those elements, but it’s not interested in the yearning, but the lust between Cathy and Heathcliff, especially once she’s married Edgar, showing them having sex numerous times (there’s also a scene with the servants having S&M sex, for some reason).Director Emerald Fennell has said the film is inspired by how she felt reading the book when she was 14, so it makes sense that the yearning, in her eyes, involved lust. In turn, it logically follows that one of the things she was interested in adapting was creating this much more sexually forward version. (Rafa Boladeras)
What book made you fall in love with reading as a child? How and why did it capture your imagination?I don’t think I ever ‘fell in love’ with reading. And I don’t feel ‘in love’ with it now. Reading has always been much more embedded in my life than that (as necessary as eating and sleeping… and most of us aren’t ‘in love’ with sleeping). What books do I remember from all those years ago? Any number… Beatrix Potter’s Story of a Fierce Bad Rabbit, Jane Eyre and the Guinness Book of Records.
"Yo soy Heathcliff", dijo Catherine Earnshaw. Y la historia de la literatura tembló. Emily Brontë acababa de escribir (en servilletas, apenas tenía papel)(????????) una de las novelas más emblemáticas de la tradición anglosajona, una de las historias de amor más infelices y arrebatadoras de todos los tiempos, 260 páginas de crueldad y desencuentro, de desamor desabrigado y escarpado como el abismo que la propia autora creó y colocó entre Heathcliff y Cathy, el kilométrico páramo que separaba Wuthering Heights de Thrushcross Grange, el salvajismo de la civilización, el corazón de la razón.Podría parecer que una historia así no debería suscitar el interés de una directora como Andrea Arnold, más inclinada –ya lo demostró en Wasp o en Fish Tank– hacia el drama urbano, el realismo social y la brutalidad infantil. Y sin embargo, la directora sorprende con una lectura fiel, que aunque prescinde del armazón más aparatoso de la obra (elimina el juego matrioskal de narradores) apunta a su más pura esencia, dispara al corazón mismo de la novela y empata con ella, consigue lo que Cumbres borrascosas logró en su momento: que al leer aquella historia de amor nos doliera el cuerpo.Pero su verdadero acierto es que para transmitirnos la esencia de Cumbres borrascosas no renuncia a su estilo, a su manera de contar las cosas. Su versión del clásico es casi muda (las palabras que intercala –"me has roto el corazón, me has matado"– son como puños golpeando en el estómago), la violencia y el barro y la mugre se hacen más explícitas, el lenguaje está inspirado en el de las barriadas de Essex, y su banda sonora son los animales, los gritos, el viento, las palmadas, el dolor… convirtiendo la adaptación en algo más parecido a un poema. Que Heathcliff sea más negro que en la novela quiere decir que la directora tampoco ha abandonado los temas que la inquietan y en los que le gusta ahondar: ¿qué sucede cuando un niño crece rodeado de violencia y sin amor? "Emily Brontë era Heathcliff", diría Andrea Arnold, "y todos podríamos ser él". (Andrea G. Bermejo) (Translation)
In the video for her 1978 song “Wuthering Heights,” Kate Bush wears a red dress and red flowers in her hair as she twirls, swoops, beckons and poses through a grassy plain. She’s mesmerizing, acting out the aching lyrics — “Heathcliff, it’s me, I’m Cathy / I’ve come home, I’m so cold” — in indelible gestures that I’ll admit I’ve stood in front of the screen mirroring more than once.Each summer, locations around the world host “The Most Wuthering Heights Day Ever,” where people get together in cherry-colored dresses and recreate the dance. Here are gatherings in Melbourne, Atlanta, Edinburgh and the original performance that inspired them all in Brighton, from 2013. Many events are scheduled for this weekend, including one in the English coastal town of Folkestone, whose organizers have put together a tutorial for how to do the dance.It looks a little intimidating when you see Kate Bush kicking her leg up near her ear on each refrain, but, as one of the instructors in the tutorial says: “The point isn’t to look brilliant; the point is to make sure we have lots of fun.”Thanks to Ann Shaller, a reader from Orange County, Calif., who’s been known to dance her own Nelken Line, for the recommendation. ( Melissa Kirsch)
Esther Liu Godfrey, University of South Carolina UpstateVictorians: A Journal of Culture and Literature, Number 149, Summer 2026, pp. 141-161This essay argues that Gen Z readers, equipped with a vernacular psychological literacy derived from social media and therapy culture, are uniquely positioned to reread Wuthering Heights through a diagnostic gaze: a feminist interpretive practice that recognizes the novel’s psychodynamics as patterns of abuse rather than passion. While feminist critics from Deborah Lutz to Arielle Zibrak have examined the liberating potential of portrayals of desire, contemporary students bring to the text a democratized therapeutic vocabulary—terms such as trauma bond, coercive control, and enmeshment—that reframes the dangerous lover’s allure as pathology. Drawing on pedagogical encounters and the cultural afterlife of Wuthering Heights in Twilight, Fifty Shades of Grey, and Emerald Fennell’s recent film adaptation, this essay traces how Wuthering Heights persists as a cultural trauma loop: a dopamine-driven cycle of harm and reconciliation that masquerades as romance. Integrating insights from Kirsten Shepherd-Barr, Naomi Booth, Jack Halberstam, Christine Jarvis, and Sandra Lee Bartky, I contend that therapy-speak, often dismissed as reductive pop psychology, instead informs a feminist discourse capable of dismantling the aesthetics of romanticized abuse. The diagnostic gaze thus offers a mode of reading that neither pathologizes desire nor romanticizes domination. By recognizing Catherine and Heathcliff ’s relationship as a model of dysregulated attachment rather than transcendent love, Gen Z readers illuminate new ethical possibilities for teaching and reading Brontë today: not the cancellation of Wuthering Heights, but the recovery of intimacy itself.
Santos Zunzunegui Díez, Universidad del País Vasco - Euskal Herriko UnibertsitateaSERIARTE. Revista científica De Series Televisivas Y Arte Audiovisual, 10, 45–58 (2026)Recuperando una idea acariciada durante más de veinte años largos años y con la complicidad esencial de uno de sus mejores guionistas, Julio Alejandro, Buñuel lleva a cabo una adaptación de la gran novela de Emily Brontë, Cumbres borrascosas, transponiéndola desde los áridos páramos ingleses a las ardientes tierras mexicanas. Pero sobre todo insertando el amor imposible y transgresor que la novela describe en la tradición hispánica de la más pura necrofilia con la finalidad de proponer una ilustración cinematográfica de uno de los versos más célebres de nuestra literatura, ese «polvo enamorado» que cantó Quevedo, como destino final de cualquier amor.
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Brontë Birthplace, Bradford, BD13 3HFThu 23rd July 2026, 11:00AMThu 6 Aug 2026, 11:00AMThu 20 Aug 2026, 11:00AMJoin storyteller Cathy Calvert for a magical morning of stories, imagination and creativity at the Brontë Birthplace.Perfect for younger children and their families, these relaxed storytelling sessions encourage a love of books and bring stories to life in the very place where the Brontës' own love of storytelling first began. Whether you're a regular visitor or discovering the Birthplace for the first time, Storytime offers a wonderful way to start your day.Afterwards, why not stay and explore the historic house, enjoy refreshments in our volunteer-run Tea Room or take part in our Brontë Cats trail?
I was worried that Jordi Mand’s Brontë: The World Without (Rating: ✭✭✭✭) might not suit an al fresco production at Scarborough’s Guild Festival Theatre. After all, it’s pretty much entirely set in the West Yorkshire house that the literary sisters Brontë — Charlotte (Laura Del Papa), Emily (Hilary Scott) and Anne (Lara Lucia) — shared in the 1800s.But director Helen Juvonen’s sensitive staging, a trio of passionate performances and the solid classical columns of the GFT stage give the production a grandeur and airiness it lacked in its rather cramped premiere eight years ago at Stratford’s Studio Theatre. (...)I think I was a little harsh on Mand’s play when it premiered in 2018. It doesn’t want to show where the Brontë’s works came from — how could you begin to depict the genesis of Emily’s impassioned, unusual Wuthering Heights? But it does capture the sacrifice and hard work that goes into artistic creation, especially when, as a woman, you’re expected to do so much else. It also nicely illustrates the bond that connects the three sisters, who are each so different and intimately know each other’s insecurities. (Glenn Sumi)
Nu Sass Productions cordially invites you to the house party of the season, hosted by none other than the Brontë Sisters—Emily, Charlotte, and Anne, the famous writers of Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall respectively. The Brontë Sisters are stuck in purgatory, suffering through party after party in an endless time loop, until they throw the best house party and reach The Point of Celebratory Reverence. For them, hosting is truly hell.Nu Sass presents Brontë Sister House Party, written by Courtney Bailey, which premiered at the St. Louis Shakespeare Festival in 2021 for the Confluence Regional Writers' Project, and was awarded the 2022 St. Louis Theatre Circle Award.
Elsewhere, death serves as an explicit expression of moral or religious purity. Think Helen Burns in Jane Eyre. (Claire Allfree)
I’ll never forget when, after reading and loving Jane Eyre, I read Jean Rhys’ Wide Sargasso Sea. If you’ve never read it, it focuses on Bertha Rochester before becoming Bertha Rochester. Rhys’ book not only gives her a different name, but an entirely full and rich history. In fact, Rhys was so furious about Bertha simply being the madwoman in the attic, she set out to write her a life. And I loved Wide Sargasso Sea for itself and for its intertextuality—how it existed on its own and in conversation with Charlotte Bronte’s Jane Eyre.
Another author, Amy Chozick, also chooses Wide Sargasso Sea as one of her favourite novels on Debutiful.
Between Promising Young Woman and Saltburn, Emerald Fennell has proven that her films are water-cooler conversation starters. This year, she took on Emily Brontë’s iconic gothic novel Wuthering Heights, with Margot Robbie as Cathy and Jacob Elordi as Heathcliff. Fennell faced controversy, with some fans accusing the director of whitewashing Heathcliff and oversexualizing the source material. Still, it's a feast for the eyes—and who can resist a score by Charli xcx? (Abby Monteil Contributions by Sadie Bell)
The Book: "I finished Eve Babitz's Sex and Rage while in LA and am about halfway through Wuthering Heights, so that will be coming with me to the UK and France."The Reasoning: "I’ve been really into pre-gaming my vacations by reading novels based on my next destination. I started it last year when I happened to read Patti Smith’s Devotion before going to Paris, and it made the anticipation of sitting at a Parisian cafe so much sweeter. A few months ago I picked up Deborah Levy’s The Cost of Living during a trip to London, and will be returning to the city with Wuthering Heights. I can’t say it’s a particularly relaxing read, but I am looking forward to being haunted by gothic literature while in London." (Tina Zhang)
Set in Sydney, Time Travel For Beginners centres on characters Anna, Jade and Teddy, each searching for answers in complicated lives, a quest that brings them to a nondescript shop called the Time Travel Agency. Here, customers are offered travel to wherever they wish in the past without altering the future in any way.Does meeting Charlotte Brontë walking on the moors sound interesting? Or seeing the construction of Stonehenge? Would revisiting their teenage self be intriguing? What moment in people’s lives would they travel to? And, how would it help them understand the present? (Lenny Ann Low)
The Most Wuthering Heights Day Ever in Newcastle Live.
